In an industry that often chases fleeting trends, Ultra Naté stands as a radiant beacon of unwavering passion and quiet strength. With a career spanning decades, she continues to pour her soul into every note, releasing fresh singles and reintroducing timeless classics that still pulse with life. Her recent creative surge—born not from sudden bursts, but from steadfast consistency and deep love for the music—reminds us that true artistry thrives on purpose and patience. Through shifting sands and endless new releases, Ultra’s voice has remained a constant source of joy, connection and celebration on the dance floor.
As she prepares to light up Beatstock this summer, Ultra’s warmth shines brightest in her gratitude for the loyal community that has grown with her. “There’s nothing but love, respect and community between us,” she shares, her words wrapped in the same infectious energy that has made “Free” a generational anthem. Whether revisiting vault treasures or collaborating across borders, she invites every listener to feel alive, to dance without proving anything and to discover the full heart of her body of work. In Ultra Naté, we see not just a legendary voice, but a beautiful reminder that music has the power to heal unite, and carry us through every chapter of life.
INTERVIEW >>>You’ve never been an artist who simply lives in the past, and this year alone, you’ve already released new singles. What is driving this incredible burst of creativity and energy for you right now?
I think I’ve been mostly consistent this last decade with continually releasing music, but the bandwidth changes. The infrastructure of the industry is like shifting sand. We’ve had to navigate changes in how music is distributed and consumed as a small, independent company. But I believe if you stay consistent in who you are and your purpose, eventually the world catches up. I think we are seeing the fruits of that determination and consistency this year.
So, from the outside, it may seem like an incredible burst of creative energy when in actuality it’s a matter of careful strategic and consistent movements behind the scenes. The creativity has always been there–we will always make music we love. The ability to get it to the masses is where the difficulty is, when hundreds of thousands of tracks are released every day, and unless you have a big machine behind you, it’s an uphill battle. So I’m very proud we are seeing this kind of momentum and visibility this year.
Beatstock consists of two huge summer shows — 8/15 in Holmdel, New Jersey and 8/16 in Jones Beach, Long Island — with audiences who truly know their dance music. When you walk onto that stage, do you feel like you have something to prove or is it simply about letting go and celebrating with the crowd?
Oh, I never approach a live show with feeling any sort of need to prove anything. The great thing about the Beatstock audiences is that we have a long history–we have an intense love affair going! There’s nothing but love, respect and community between us. Everyone is ready to have fun, to sing, dance and feel alive. I love how much my music has impacted the culture of dance music in this space.
You’ve been on an incredible creative run with “Movin’ To The Sun” alongside HUGEL and Imael Angel, “Restless” with Tedd Patterson, the Samuele Sartini retouch of “So Glamorous,” and the techno-driven “Push The Vibe” with DJ Minx and Dee Diggs. Your new single, “Starlight”, with French producer The Avener, brings another international collaboration into your musical world. These releases all bring a different energy to the dance floor. What is inspiring this exciting and creatively diverse chapter in your music right now?
The great thing is that all of these projects came together organically. And it is a huge compliment that so many people enjoy collaborating with me. This industry is built on relationships and ideally enjoying what you do. I get the luxury of exploring different avenues under the umbrella of dance music as I always have, which is why it’s always felt super liberating to me. And the bigger win is that my audience is receptive of the many different aspects of music I’ve presented to them over the years and actually have come to value it.
You’re currently finishing a new album project while also reopening the vault with classics like “New Kind Of Medicine,” “Love’s The Only Drug,” “Found A Cure,” and “Automatic,” including previously unreleased versions. Were there any moments listening back where you realized those songs had taken on a whole new meaning with the passage of time or thought, “This still feels just as relevant today as it did when I first recorded it”?
I feel like these songs are timeless and will always deserve an audience. We’ve worked really hard for many years to produce music we believe in. These songs were released at a time when digital was not the driver, so it’s very exciting that my fan base gets to experience them again, as well as new fans for the first time. It’s important, as they represent the essence of dance music and the culture of “the song” is the thing. There is a large group of people out there who only know me through the success of “Free“, they don’t know my body of work. These re-releases give them the opportunity to get a broader perspective. A chance to discover music I have created through the years.
“Free” has lived so many lives, and now “Free (You Got To Live)” with Hugel has reached #1. When you first recorded “Free,” could you ever have imagined that decades later, DJs, producers and a whole new generation would still be reinventing and celebrating it?
There’s definitely no way to forecast that, especially the level of long term impact that “Free” has enjoyed for almost three decades.
We just approached it with the thought that we wanted to make a great record that was its own distinct animal. Love it or hate it, it was distinctive and produced amazingly. I was blessed with an amazing team of creatives around me, starting with my manager Bill Coleman, my vocal producer Danny Madden, my record producers on the single, Mood ll Swing, and lastly my A&R, Gladys Pizarro from Strictly Rhythm, giving us access and resources to just go in the studio and write. But that was it, there were no reassurances or guarantees that anything we came out of that studio with was going to work.
With new singles, a new album project and your classics being rediscovered, how do you build a Beatstock set?
By not necessarily trying to reinvent the wheel. I know what my audience wants to hear, so my job is easy. Making people happy through song in live shows has been at the base of my career since I began. They know my classics, they are ready to sing their favorite songs and they’re always open to something new and cool. That’s what makes it engaging and fun every time!
You’ve watched dance music evolve through clubs, radio, massive festivals, streaming and social media. What excites you the most about where dance music is?
I love that people who at one point in time would not have been able to participate in dance music culture are now able to. Including myself. I’ve been able to sustain a career because the music business evolved and I was able to parlay as an independent. The entry points for the industry are different now and it’s affording opportunities to people who may not have been able to fall into the major label systems back in the day. It really is anybody’s game at this moment, for better or worse. But at the same time, that gives creatives the luxury of being able to color outside the lines. That’s where the really interesting things end up happening that change and shift culture. It’s what ultimately pushes it forward.
What do you want Beatstock fans saying about Ultra Naté on the ride home?
She killed it!! She always has.
